Slender -- A Screenplay
by Kenny Rutter
Summary: An FBI agent investigates a string of disappearances linked to a supernatural entity. Draws some influences from "Marble Hornets". rated "M" for some violent and horrific images and strong language


**SLENDER**

**PLOT SUMMARY:**

**An FBI agent investigates a string of disappearances linked to a supernatural entity.**

**STORY BY:**

**Kenny Rutter**

**SCREENPLAY BY:**

**Kenny Rutter**

**BASED ON THE SLENDERMAN CHARACTER CREATED BY VICTOR SURGE**

A news report is playing.

NEWS ANCHOR

And now, more news from Oak Falls, Vermont, where a string of mysterious disappearances has plagued the town since the beginning of summer. You'll remember we covered this story when it first broke, with people claiming that these disappearances are the work of an entity they refer to as the "Slenderman". And now a new video has surfaced, coming to us from the Oak Falls Police Department. Nothing has been altered, and some may find the video disturbing.

The video starts to play - it's in a police station's interrogation room. There are two officers in the room, one of them sitting across from another man who looks to be in his mid-thirties.

OFFICER #1

Mr. Lewis, we need you to be truthful with us. When did you last see your children?

MR. LEWIS

Two days ago, as they left for school. But the bus driver said they weren't at the bus stop, and their teachers said they weren't at school.

OFFICER #1

And why didn't you report it then?

MR. LEWIS

I went looking for them, thought maybe they'd wandered off somewhere. Joey always liked to wander and usually dragged his sister along with him. But I didn't find them; all I found was Jacqueline's book bag, and then that man.

OFFICER #2

What man?

At this point, the video begins to distort; it gets staticky, but just a little bit.

OFFICER #1

Can you describe him, Mr. Lewis?

MR. LEWIS

He was tall, abnormally tall. Bald, black suit, and his face...

The static gets more frequent and intense.

OFFICER #2

What about his face?

MR. LEWIS

There was no (bleep) face!

The entire screen is filled with static, and we can just barely make out a third figure appear in the room - a tall figure that appears to be wearing a black suit.

MR. LEWIS

(terrified)

Oh God, it's behind you!

The officers turn and draw their guns.

OFFICER #2

What the (bleep)

OFFICER #1

Jesus!

They start FIRING. The screen is filled with even more static, and when it clears -

There's no one in the room!

Another officer throws the door open and sweeps the room with his gun.

OFFICER #3

Where are they? Where'd they go?

The video blinks out; the news report is over.

Fade to:

EXT. - NEW YORK CITY - FIFTH AVENUE. MORNING.

Traffic is at a stand-still; it's morning rush hour. A lot of drivers are getting annoyed; there's a lot of yelling and shouting and people giving the one-finger wave.

In one of these cars is FBI Agent David Malis. He's impatiently tapping his fingers on the steering wheel.

DAVID

Come on, how long does it take for a light to turn from red to green?

His cell phone starts ringing; the ringtone is a country song - "Life Is A Highway" by Rascal Flatts. David takes his phone out of his jacket pocket and flips it open.

DAVID

This is Malis.

INT. - FBI HEADQUARTERS - DIRECTOR'S OFFICE.

FBI Director Bill Douriff is sitting at his desk; he's got his office phone against his ear.

BILL

David, is everything okay? You were supposed to be in half an hour ago.

EXT. - CITY.

DAVID

And I would have been, Bill.

He rolls down his window and leans out.

DAVID

If traffic would fucking move!

BILL'S OFFICE.

BILL

Calm down, David.

CITY.

DAVID

I'll calm down, Bill, when that light decides to change. Seriously, I've been sitting in the same god damn spot for a fucking hour.

Traffic finally starts to move.

DAVID

Oh, thank God we're moving. Snail's pace, yeah, but we're moving.

BILL'S OFFICE.

BILL

Just hurry up and get here, David. I've got an assignment for you.

CITY.

DAVID

I'll be there as soon as I can, Bill, but I'm not making any promises with this traffic.

BILL'S OFFICE.

BILL

Don't worry, David. I'll just take it out of your pay. See you when you get here.

He hangs up his phone.

Fade to:

INT. - FBI HEADQUARTERS. LATER.

David throws the door open and storms inside. He starts making his way over to a corner office. As he walks, he's approached by another agent - Carter Grayson.

CARTER

Hey, David.

DAVID

Yeah, I know. Bill wants to see me.

He pushes past Carter.

DAVID

Whatever else you have to say, Carter, it can wait.

He knocks on the office door.

INT. - BILL'S OFFICE.

BILL

Come on in.

David opens the door and steps into the office, shutting the door behind him.

BILL

You're supposed to be in at 8:30, and here it is approaching 11:00. Bad traffic?

DAVID

I knew New York traffic could be bad, but today was the worst I'd ever seen. Anyway, what's up?

BILL

Got a call from the police up in Oak Falls, Vermont. Seems their little missing persons cases are a little too big for them to handle, so I'm sending you up there.

DAVID

Just me? Shouldn't I have a team or at least a partner?

BILL

It's a small town, David; the population's barely 800. And besides, you're the best agent and investigator I have. I'm sure you can handle it.

DAVID

If you say so. But you know, with it being such a small town and all, you'd think someone would have found at least one of these people, right?

BILL

Not unless that Slenderman fellow got to them.

DAVID

(scoffs)

You actually believe that, don't you?

BILL

And you don't?

DAVID

That's an urban myth, and I don't deal with all that bullshit. I'll go to Vermont, but I'm not looking for any witches, monsters, or any of that make-believe crap. I'll help them find their missing people, and then I'm coming right back here.

BILL

If you insist, David.

DAVID

So, anyone I'm supposed to meet?

BILL

Police Chief Oswald Quimby. He'll be expecting you tomorrow at 9:00 in the morning, so I suggest you head home and start packing. Take whatever you need for at least two weeks.

DAVID

You're expecting it to take that long?

BILL

And you're not? Look, David, I wouldn't be asking you specifically if I didn't have faith in you.

He puts a hand on David's shoulder.

BILL

I'm sure you can handle this. And be sure to keep me updated on your progress while you're up there.

DAVID

I'll do my best, Bill.

BILL

And be careful.

DAVID

Yeah, yeah.

He turns and leaves, shutting the door behind him as he does.

Back on: Bill.

He takes out his cell phone and dials a number, before putting the phone to his ear.

BILL

Yeah, he's coming. Trust me, David's the best man I've got.

Cut to:

INT. - DAVID'S APARTMENT - BEDROOM. NIGHT.

David's got a suitcase open on the bed. He's stuffing it full of clothes - shirts, pants, socks, underwear. After putting in a towel, wash cloth, and a bottle of body wash and shampoo, he closes it.

DAVID

That ought to be enough.

He opens up his dresser drawer and takes out a metal box; he puts a key in the lock and turns it, unlocking the box. He opens the box and takes out a nine-millimeter handgun - a Glock. He checks the safety, checks to make sure it's loaded - there's a full clip in the gun. He takes the safety off, chambers a round, and then puts the safety back on.

DAVID

Can't be too careful.

He puts the gun back into the box and closes it.

Fade out.

Fade in.

EXT. - INTERSTATE. NIGHT.

David's driving down the interstate. He looks down at the car's clock - it's 3:00 in the morning.

DAVID

I've got plenty of time to get there.

He takes a sip of his coffee - it's Sheetz coffee - and continues driving. Something catches his attention from out of the corner of his eye - it looks like the same man we saw in the video during the news report.

DAVID

What the - ?

He shakes his head.

DAVID

Nah. I'm probably just tired. Gonna have to find a hotel or something to stay in while I'm up there.

Fade to:

EXT. - OAK FALLS, VERMONT - MAIN STREET. MORNING.

It's a relatively small town that David's driving through - there's a True Value, a Dollar General, a gas station, a diner, a pizza parlor - it's your basic small town.

David's looking around as he slowly drives down the street. He takes out his phone and checks the GPS.

DAVID

Come on, seriously? This town's smaller than the one I grew up in; how hard is it to find a police station?

He comes to a stop at an intersection and waves down a pedestrian.

DAVID

Excuse me, sir? Can you tell me how to get to the Oak Falls Police Department?

MAN

OFPD? Yeah, you just head straight here on Main Street, and then you'll come to an intersection; when you get there, turn left onto Market Street and keep going for a mile and a half, and it'll be a big brick building on your right.

DAVID

Thanks.

He keeps driving.

DAVID

Okay, Market Street...Here it is. And that guy said to turn left.

Cut to:

EXT. - OAK FALLS POLICE DEPARTMENT. MORNING.

David pulls into the parking lot and turns the car off.

DAVID

Well, here we are.

He gets out of the car.

INT. - POLICE STATION - RECEPTION. MORNING.

David walks up to the receptionist's desk.

DAVID

Morning. My name's David Malis; I'm here to meet with Chief Quimby.

RECEPTIONIST

Oh, yeah, the FBI guy. Give me a minute, I'll go fetch him.

DAVID

Thanks.

He goes to sit down on one of the chairs and watches the activity - cops coming and going, some of them bringing in arrestees; some cops coming in for the start of their shifts, some leaving as their shifts end.

Two cops, one a seasoned vet and the other one a young rookie, walk past.

ROOKIE

I'm telling you, if I ever see that Slender fellow, I'll -

VETERAN

If you see him, then he's been watching you for weeks. You might as well stick your head between your knees and kiss your ass goodbye because sooner or later he's gonna take you.

DAVID

Oh, please.

That stops the two cops. They stare at him, somewhat confused.

DAVID

You don't actually belive that, do you?

VETERAN

Why shouldn't I?

DAVID

Because he's like Bigfoot - he doesn't exist. Why should I believe in some modern-day boogeyman?

ROOKIE

Because, pal, a lot of people around town have seen him. Why do you think a lot of them have gone missing? Slendy's taken them.

DAVID

That's a load of horse shit.

RECEPTIONIST (O. S.)

Mr. Malis?

ANOTHER ANGLE.

The receptionist is waving to him from down the hall.

RECEPTIONIST

Chief Quimby will see you now.

DAVID

Thanks.

He stands.

DAVID

Well, fellas, enjoy your campfire stories. I have a real case to solve.

He follows the receptionist down the hall.

Cut to:

INT. - POLICE STATION - CHIEF'S OFFICE. MORNING.

Police Chief Oswald Quimby is sitting at his desk; there's a folder in front of him - on the folder is a sticky note labled "Missing Persons".

Before he can open the folder, there's a knock on the door.

QUIMBY

Come on in.

ANOTHER ANGLE.

The door opens, and David walks in.

QUIMBY

Ah, you must be our FBI guy. David, isn't it?

DAVID

That's right, Chief.

He closes the door behind him.

QUIMBY

Take a seat, David. We got quite a bit to talk about.

David sits down in the leather seat across from Chief Quimby.

DAVID

You're right, we do. So, tell me about your missing people - and please, don't try to tell me that some eldritch abomination had something to do with it. Shit like that gets people booted from the bureau.

QUIMBY

You know, I knew a Bureau man like that once - Matt Bluestone, I believe. Always chasing the Illuminati.

DAVID

And it got him kicked out; he was a little too obsessed. But enough about that - didn't you call me up here to help you find your missing people?

QUIMBY

You're right, I did.

DAVID

Tell me everything.

Quimby passes him the folder.

QUIMBY

This folder has everything you need to know in it - files, photographs, the missing persons' reports.

David opens the folder.

DAVID

Ben Bartley - he was the first one to disappear, right?

QUIMBY

Since this summer. What you don't see in that folder is all the people that have gone missing before that.

DAVID

What do you mean?

QUIMBY

The ones in this folder are just the ones that went missing since summer. Believe it or not, people around town have been disappearing since at least the fifties.

DAVID

Do you have a file on those people?

QUIMBY

Sorry. No. The police weren't as...concerned about missing people as we are now.

Back on: David.

He's flipping through the folder. He pulls out a photograph of a young girl, a teenager, and blurred in the background, under a street light, is the same tall, faceless figure from before.

David shows the picture to Quimby.

DAVID

Your men should be more careful with evidence like this, Chief. There's a smudge on it, unless it was already there.

QUIMBY

That's no smudge, David. That's -

DAVID

Don't say it, Quimby, all right? I've already seen a few people who belong in a looney bin because they belive in this thing.

QUIMBY

Whether Slenderman's real or not, you have got no imagination.

DAVID

Chief, I deal with facts, and the fact of the matter is - you have twenty people who have gone missing in less than six months. And you're stuck with me until I can figure out just what the hell happened to them.

QUIMBY

Good to hear.

David closes the folder and hands it back to Quimby.

DAVID

Well, I'd better get to work. These people aren't going to find themselves.

QUIMBY

Here, this might help.

He writes something down on a piece of paper, then hands the paper to David.

DAVID

What's this?

QUIMBY

It's an address to a friend of one of the people who vanished. Who knows - they might have some information for you.

DAVID

Thanks.

He stands up and heads for the door. Quimby stands and stops him before he can open the door.

QUIMBY

One more thing, David.

David turns back to him.

DAVID

What's that, Chief?

QUIMBY

I know you said you don't believe that Slenderman exists, but there are a lot of people around town who do. So just in case they start to get to you, let me give you this one warning, and I'm only going to say this once: If you go looking for Slenderman, you won't find him; he'll find you. And that is the last thing you want.

DAVID

Thanks, Chief. I'll keep that in mind.

David opens the door and leaves the office.

Cut to:

EXT. - TOWN - STREET. DAY.

David's slowly driving his car down the street. He's got the paper with the address in his free hand. He keeps glancing at it.

DAVID

552 South Hampton Street. The Cancels. Okay.

He turns his attention back to the street.

DAVID

Okay, this is South Hampton Street. Now I'm looking for 552.

He finally spots a small two-story white house.

DAVID

This is the place.

He shuts the car off, climbs out, and walks up to the front door. He lightly knocks on the door a few times.

MRS. CANCEL

(through the door)

Coming.

Mrs. Cancel opens the door.

MRS. CANCEL

Can I help you?

David flashes his FBI badge and ID.

DAVID

My name's David Malis. I'm with the FBI. I'm here to talk to your son Elliot about his friend Ben, if that's alright?

MRS. CANCEL

I wish it were, Mr. Malis.

MR. CANCEL (O. S.)

Who is it, honey?

MRS. CANCEL

A man from the FBI. He wants to talk to Elliot.

Mr. Cancel joins them at the door.

MR. CANCEL

Why do you want to talk to Elliot?

DAVID

He was a friend of Ben Bartley, one of the first people to go missing. I'm helping the police with this case, and I was hoping your son might have a bit more information that could help us find him.

MR. CANCEL

Good luck with that. Elliot won't even leave his room anymore, not even to go to the bathroom.

DAVID

(confused)

What?

MRS. CANCEL

Would you like to come in, Mr. Malis?

DAVID

Thanks.

INT. - CANCEL HOUSE - KITCHEN. DAY.

The three of them are now sitting around the kitchen table; they've all got a cup of coffee.

MR. CANCEL

It was just after Ben disappeared. Ben and Elliot were really good friends, but after Ben vanished, he just snapped.

MRS. CANCEL

At first, he was just keeping to himself; he would barely talk to anyone. After that, he stopped going to school, stopped leaving the house, and now he won't leave his room.

DAVID

I guess his friend's disappearance hit him pretty hard.

MRS. CANCEL

There's more.

MR. CANCEL

He said he saw it. The Slenderman.

DAVID

(chuckles)

MR. CANCEL

You don't believe him?

DAVID

I'm not saying that your son didn't see something. But maybe he was so distraught that he _thought_ he saw something. Our minds sometimes play tricks on us when we're in an emotional state.

He takes a sip of his coffee.

DAVID

I promise, when I talk to him - if you'll let me - I won't bring up that particular subject. I'll just ask a few questions about Ben and leave it at that.

MRS. CANCEL

Well, you're welcome to try.

Quick cut to:

INT. - CANCEL HOUSE - UPSTAIRS. DAY.

They're outside a door at the top of the stairs. Mr. Cancel knocks on the door.

MR. CANCEL

Elliot, it's Mom and Dad. There's a man here who wants to talk to you about Ben.

There's no answer.

DAVID

Sorry for seeming so rude, but this room smells like an outhouse.

MRS. CANCEL

Like we said, he hasn't even left to use the bathroom.

DAVID

How about the door? Is it unlocked?

MRS. CANCEL

Of course. Otherwise we wouldn't be able to bring him something to eat.

DAVID

Okay.

He knocks on the door.

DAVID

Ready or not, Elliot, we're coming in!

He opens the door; he and Mr. and Mrs. Cancel step into the bedroom.

There's a trash can in the corner of the room; it's overflowing with garbage, most of it half-eaten food, but there's also bits of pencil shavings and crumpled up paper; on the floor are several buckets filled with urine and feces, and it seems that they've been there for weeks - there are flies buzzing around the buckets which, like the trash can, are starting to overflow; and plastered on the walls are several pieces of paper, each one with a different scribbled drawing and message on it - there's a tall stick figure, scribbled pine trees, and messages like "No eyes, it takes you", "Don't look or it sees you", "Can't run", and other macabre messages; some drawings and messages are even on the walls, but only where there's a clear patch, and with all these pages on the walls, that doesn't leave a whole lot of room.

Back on: David.

He's looking around at all the pages in bewilderment.

DAVID

(admiring whistle)

Wow. Talk about having spare time.

He turns his attention to the teenage boy sitting on the bed; the boy's resting a notepad on his legs, in his other hand he's holding a pencil, and he's making another scribbled drawing.

Back on: David.

He turns to Mr. and Mrs. Cancel.

DAVID

Is it alright if I have a moment with him alone?

MR. CANCEL

Sure thing.

DAVID

Thanks.

ANOTHER ANGLE.

Mr. and Mrs. Cancel leave, Mr. Cancel shutting the door behind him.

Back on: David.

He sits on the bed beside Elliot, who seems oblivious to him being there.

DAVID

Hello, Elliot. My name's David. I understand you were a friend of Ben Bartley.

ELLIOT

Before he was taken.

DAVID

Um...Yeah, sure. Taken. Can you tell me more about him? You might be able to help me find him.

ELLIOT

You can't find him; you'll never find him.

DAVID

Why not?

ELLIOT

I saw it. Tall; long arms; no face. And then, Ben was gone.

DAVID

What do you mean, gone?

For the first time, Elliot looks at him. The poor kid looks like he's scared half to death.

ELLIOT

He was gone! Just gone! The Slenderman took him, I saw it happen!

DAVID

I'm sure you saw something, Elliot, but I don't think it was this "Slenderman".

ELLIOT

You don't believe me, do you?

DAVID

I believe you saw something, son, but I don't think it was a monster.

ANOTHER ANGLE.

He stands up and walks over to the window. He opens the curtain and looks at the line of houses across the street.

DAVID

Did Ben live in one of these houses?

Elliot slowly stands and joins David at the window; he's still clutching his notepad and pencil.

ELLIOT

That one.

He points to a green house, then spots something on the sidewalk. He starts to panic.

ELLIOT

(panicking)

It's there! Oh God, it sees me!

DAVID

What are you talking about? I don't see anything.

But Elliot does. He quickly closes the curtains and hurries over to his bed, where he climbs onto the mattress and throws the cover over his head.

Back on: David.

He opens the curtain a crack to look, but there's nothing on the sidewalk.

DAVID

Elliot, relax. There's nothing there.

ELLIOT

No! He knows where I am; he's coming for me!

David doesn't say anything, he just steps away from the window. He starts looking at the pages on the walls. He takes two down - one with the faceless stick figure and another with one of the macabre messages.

DAVID

(reading)

"No eyes, it takes you".

(to Elliot)

You don't mind if I take a couple of these, do you?

Elliot doesn't respond.

DAVID

I'll take your silence as a yes.

He folds the pages up and sticks them in his pocket. Just then, his cell phone chimes. He takes his phone out and flips it open; he's gotten a text message: "Stop now, before it's too late".

DAVID

What?

(scoffs)

Damn pranksters.

He closes his phone and puts it back into his pocket.

DAVID

Thanks, Elliot.

He leaves the room and close the door behind him.

Back on: Elliot.

He peeks out from under his covers and looks around in fear.

INT. - CANCEL HOUSE - UPSTAIRS LANDING. DAY.

David's at the top of the stairs with Mr. and Mrs. Cancel.

DAVID

Something's got your kid spooked.

MRS. CANCEL

What did he tell you?

DAVID

Not much. He just kep saying that "it" took Ben.

Just then -

ELLIOT (O. S.)

(SCREAMS)

David takes out his gun as he and Mr. and Mrs. Cancel RUN to Elliot's room. David KICKS the door open and hurries inside, sweeping the room with his gun -

But Elliot is nowhere to be seen.

MR. CANCEL

Elliot!

DAVID

Where'd you go, kid?

Mrs. Cancel hurries over to the window.

MRS. CANCEL

Maybe he jumped?

DAVID

Not unless he opened the window, climbed out, hung onto the outside windowsill, closed the window, leaped down, and ran off in the past twenty seconds.

MR. CANCEL

Then where is he?

DAVID

I -

He lowers his gun.

DAVID

I don't know.

He puts his gun back into its holster and turns to Mr. and Mrs. Cancel.

DAVID

But I swear, I _will_ find him, him and all the others, and I'm not going to stop until I do.

Cut to:

INT. - HOTEL LOBBY. EVENING.

David's patiently waiting at the counter. After a few seconds, the receptionist arrives.

DAVID

There you are.

RECEPTIONIST

Sorry. Had some shrimp that didn't agree with me.

DAVID

I know what that's like.

RECEPTIONIST

So, what can I do you for?

DAVID

David Malis. I made reservations for a room.

RECEPTIONIST

One second.

He starts checking something on the computer.

RECEPTIONIST

Ah, there we are. You booked a room for a whole two weeks. Vacation?

DAVID

I wish. And no, I'm not here because of your little legend.

RECEPTIONIST

Hey - don't ask, don't tell.

DAVID

That's the miliary's policy towards homosexuality.

RECEPTIONIST

It's also my policy towards people's reasons for staying. Your business, not mine.

He takes a key off the rack behind him and hands it to David.

RECEPTIONIST

Room 203. Here's your key, enjoy your stay.

DAVID

If only.

He heads towards the elevator.

ANOTHER ANGLE.

He presses the button, summoning the elevator. A few seconds later, the doors open with a BING.

David steps inside and presses the button for the second floor. The elevator doors close. David leans back against the wall.

DAVID

Seriously, what happened to him? One minute he's there, the next he's gone. I don't get it.

PING. The doors open. David steps out of the elevator and turns left.

ANOTHER ANGLE.

He puts the key in the lock of a door and pushes the door open.

DAVID

Shit, I forgot my bag.

Cut to:

EXT. - HOTEL. EVENING.

David lifts open the trunk of his car and takes out his suitcase.

DAVID

Stupid me.

He shuts the trunk.

Cut to:

INT. - HOTEL ROOM. NIGHT.

David tosses his suitcase onto one of the beds and flops down on the other. His ringtone goes off.

ANOTHER ANGLE.

David sits up and takes his cell phone out of his pocket. He flips it open and puts it to his ear.

DAVID

This is Malis.

INT. - FBI HEADQUARTERS - BILL'S OFFICE. EVENING.

Bill's sitting at his desk; he's leaning back in his chair, his feet resting on the desk.

BILL

David. Glad to see you made it up there in one piece.

HOTEL ROOM.

DAVID

What, were you expecting me to end up in some Interstate pileup?

BILL'S OFFICE.

BILL

Funny. How'd your first day in Vermont go?

HOTEL ROOM.

DAVID

A little slow, save for the fact that a witness I was talking to just vanished under my nose. Seriously, one minute he's there, I turn my back for a few seconds, and - Poof! He was gone. Don't know where he went, but that's what I'm going to find out. After all, isn't that why you sent me up here?

BILL'S OFFICE.

BILL

Yeah. Like I said, you're my best guy. Of course, if Matt were still here, I'd probably send him.

HOTEL ROOM.

DAVID

Matt wouldn't be looking for these missing people, he'd be hunting a fairy tale. Look, Bill, it's been a long day and an even longer drive up here. I'm gonna get some rest and I'll get back to work first thing tomorrow.

He closes his phone and puts it back into his pocket.

DAVID

There's not much I can do tonight anyway.

He takes off his jacket and tosses it over to the other bed, then takes off his shoes, before laying down.

Fade out.

Fade to:

INT. - DINER. MORNING.

David's sitting at the counter; there's a breakfast plate sitting in front of him, and next to that is a cup of coffee. On the other side of the plate is one of the pages David took from Elliot's room. He takes a drink of his coffee, takes a bite of his pancakes, then takes a look at the page.

ANOTHER ANGLE.

Someone sits down next to him.

JOHN

I'll have the usual.

WAITRESS

You got it, Johnny.

David isn't paying any attention. He takes a bite of his toast, keeping his gaze on the page the whole time.

DAVID

This thing's connected to all this somehow, I just can't put my finger on it.

John glances over at David, then notices the page - it's the one with the faceless stick figure.

JOHN

That looks like Slenderman.

DAVID

If I had a nickle for every time someone mentioned that, I wouldn't have to worry about paying my bills.

JOHN

I hear ya, bro. You're not looking for it, are you?

DAVID

I don't actively hunt fairy tales.

JOHN

Good. The way I hear it, that's something you don't want to do.

DAVID

But the more I look at this drawing, the more I think that it's involved.

JOHN

What, the drawing?

DAVID

No. This Slender character.

ANOTHER ANGLE.

The waitress brings John his plate - eggs, sausage, toast, and coffee.

WAITRESS

There you go, John.

JOHN

Thanks, babe.

The waitress turns to David.

WAITRESS

Can I get you anything, sir?

DAVID

A little more coffee, please, ma'am.

The waitress grabs a nearby coffee pot and refills David's cup.

DAVID

Thanks.

WAITRESS

Yup.

She winks at him before walking away.

JOHN

You must be a big hit with the ladies.

DAVID

Please. My luck with women is worse than my luck at poker - that is to say, no luck at all.

JOHN

Wow. Sucks to be you.

DAVID

I don't care. Hey, listen, while I have your attention, you wouldn't happen to know about the people who've gone missing, do you? Any regular patterns any of them had, or where they may have said they were going?

JOHN

Sorry. I didn't know any of them.

DAVID

Oh.

JOHN

Yeah. Sorry, man. Why? You looking for them? You don't look like a cop.

DAVID

FBI. The local police just asked for an extra set of hands with this.

JOHN

Neat. Well, just -

DAVID

I know, I know.

(mockingly)

Watch out for Slenderman.

He takes a drink of his coffee.

DAVID

Chief Quimby already told me. And I already said, I don't plan on hunting down something that doesn't exist.

He folds the paper up, puts it in his pocket, and takes a drink of his coffee.

DAVID

It was nice talking with you, but I've got an investigation to conduct.

He takes out his wallet and leaves a $5 bill on the counter next to the plate.

DAVID

See you around.

ANOTHER ANGLE.

He leaves the diner. John watches him leave, then turns back to his plate and takes a bite of his sausage.

JOHN

He's a goner. I already see it coming.

Cut to:

EXT. - PARK. DAY.

A lot of young kids are on the playground - swinging on swings, climbing on the jungle gym, going down the slide, spinning on the merry-go-round, etc. There's one adult sitting on the bench, watching them.

FRED

Hey, play nice, Jerry! Silly kids.

ANOTHER ANGLE.

David walks up to him.

DAVID

Excuse me? Sir?

FRED

Yes?

DAVID

My name's David Malis. I'm with the FBI. I was wondering if you could help me out, Mr...

FRED

Fred Griffin.

DAVID

Mr. Griffin. Mind if I sit here?

FRED

Go right ahead.

DAVID

Thanks.

He sits down on the bench next to Fred.

FRED

What do you need me to help you with, David?

DAVID

I'm investigating the mysterious disappearances that have been plaguing town lately.

FRED

There's no mystery to investigate. We all know what did it.

DAVID

You mean "who", right?

FRED

No, not "who". What.

He turns his attention back to the kids on the playground.

FRED

He was quiet for a while, but since he showed back up, I haven't let Jerry out of my sight.

DAVID

Jerry?

FRED

My son.

He points to one of the kids.

FRED

He's over there in the red shirt. Truth be told, he won't go anywhere unless I'm with him. And I don't blame him - Slenderman has the entire town terrified, some more than others.

DAVID

You know, when I came here to help the police, I didn't believe in Slenderman - I still don't. It's just an urban legend. But the more I hear about it, the more I come to think that maybe there _is_ something out there. But that's not my problem. I'm just here to find the people who have gone missing, that's it.

FRED

Well, I wish you luck, David, though I wouldn't get my hopes up if I were you.

DAVID

Why not?

FRED

Well, I've never actually seen it myself - thank God for that - but word is, he doesn't give back anyone he takes. No one knows what he does with them - I've heard that he eats them, other people say he transports them to another plane of existence. Fact of the matter is, he doesn't leave any bodies.

DAVID

So it's a lost cause?

FRED

No one's stopping you from looking. Hell, that's your job. I'm just saying, you might not find much.

DAVID

Well, I'll keep that in mind, thanks.

They look back at the playground - one of the kids is missing.

FRED

Jerry?

DAVID

Damn it, not this shit again.

ANOTHER ANGLE.

David and Fred leap up from the bench and hurry onto the playground.

FRED

Jerry!

DAVID

Where are you, kid?

They see something on the woodline, a little boy in a red shirt, walking towards a tall man in a black suit.

FRED

There he is.

DAVID

Jerry, get back here!

They hurry towards the woodline. Jerry stops and turns back to them, the looks back at the man in the suit, who's facing the other way.

Back on: David.

He takes out his gun and stops about ten feet away from them. He aims at the man in the suit.

DAVID

Step away from the boy and put your hands on your head!

ANOTHER ANGLE.

The man turns around - he has no face.

DAVID

What the fuck?

He puts his surprise aside.

DAVID

This is your last warning - step away from the boy and put your hands on your head!

The man doesn't move, so David FIRES. As he fires, Jerry drops to his knees and puts his hands over his head.

David fires two more rounds at the faceless, suited man. All three rounds have hit him in the head -

And he just disappears.

Back on: David.

He lowers his gun as Jerry runs over to Fred and throws himself against him. David turns to Fred - it's clear that what just happend has shaken him.

DAVID

What the fuck was that? You saw that, right?

FRED

I - yeah, I saw that. I wish I hadn't.

DAVID

Why?

FRED

Because he saw us too. He's gonna come after us.

DAVID

So, that was really - You mean he really -

He starts running towards the woods.

FRED

Where are you going?

DAVID

Where do you think?

FRED

Don't do it! That is a very bad idea!

David's not listening; he hurries into the forest. After running for a few seconds, he stops and aims his gun ahead of him, sweeping the area.

DAVID

Where are you? Where did you go?

His ringtone goes off. He takes his phone out of his pocket, flips it open, and puts it to his ear.

DAVID

Yeah?

VOICE

(distorted)

I know what you're doing, Agent Malis.

DAVID

Who is this?

VOICE

(distorted)

Just leave it alone. It won't go after you if you walk away now.

DAVID

What are you talking about? Who the hell are you?

VOICE

(distorted)

I'm a concerned friend.

CLICK. The line goes dead.

DAVID

Hey, wait!

He looks at his phone.

DAVID

He hung up on me.

A twig snaps. He quickly turns in the direction of the noise, holding the gun out in front of him.

ANOTHER ANGLE.

There's nothing there.

DAVID

What's going on here?

He checks his phone.

DAVID

Know what, I'm gonna call that guy back.

He hits the Redial button and puts the phone to his ear.

PHONE RECORDING (V. O.)

I'm sorry. The number you have dialed is not available. Please check the number and dial again. Thank you.

David stares at his phone.

DAVID

What?

David puts his phone back into his pocket.

DAVID

Whatever.

Another twig SNAPS. David turns, and this time he sees someone running away.

DAVID

Hey! You!

He starts running after this someone; it looks like this person's wearing a dark brown hood.

DAVID

Wait! I just want to talk to you!

But the person running away isn't listening.

DAVID

Damn it.

The person's weaving between trees, ducking under low branches, and leaping over fallen logs. David's trying to keep up, but he's not having a lot of luck; the person he's chasing knows this area better than he does.

Cut to:

EXT. - WOODLINE. DAY.

David comes out of the woods and looks around; there's no sign of the person he was chasing.

DAVID

He's gone. Just like that, he's gone.

He looks up to the sky.

DAVID

WHAT'S GOING ON HERE?!

Fade to:

INT. - POLICE STATION. DAY.

David lets the door close behind him as he steps into the police station. He walks up to the officer on duty.

DAVID

Hey, I need a favor. I need you to check on a phone number for me.

OFFICER

Um, I can't do that unless someone calls.

DAVID

What I meant is, can you see who it's registered to?

OFFICER

You should have said that.

DAVID

Sorry.

OFFICER

No problem. I can do that for you. What's the number?

David takes out his phone and checks the Caller ID.

DAVID

952-8801. It's probably from a pay phone, but I just want to be sure.

The officer writes the number down.

OFFICER

I'll have that to you as soon as I can, Mr. Malis.

DAVID

Thanks. Also, is Chief Quimby in?

OFFICER

In his office.

DAVID

Thanks.

He heads down the hallway towards the chief's office.

Quick cut to:

INT. - CHIEF'S OFFICE. DAY.

David sits down in the seat in front of Quimby's desk.

DAVID

Chief, there's something really fucked up going on around here.

QUIMBY

You finally realized that?

DAVID

Chief, I mean this with as much respect as possible, but - don't be a smartass with me.

QUIMBY

Sorry. So, what happened?

DAVID

Well, I was at the park talking to someone, when I saw...

(sighs)

I don't know what I saw.

QUIMBY

Describe it.

DAVID

I can't. I might as well say that I saw your Slenderman.

QUIMBY

You saw him?

DAVID

Actually, I sort of...shot him.

QUIMBY

Ooh, you shouldn't have done that.

DAVID

And just why the hell not?

QUIMBY

You ever been shot before?

DAVID

Hurts like a motherfucker.

QUIMBY

And it pissed you off, didn't it?

DAVID

You think I made this thing mad?

QUIMBY

I don't think; I know. And let me guess; after that, it just - POOF - disappeared.

DAVID

It was the strangest thing. It was like he just blinked out of existence.

QUIMBY

You'd better be more careful now, David. You've been marked.

DAVID

And the other guy that was there; him and his kid?

QUIMBY

Well, on the bright side, at least he's got more than one target to choose from.

ANOTHER ANGLE.

There's a knock on the door, and the officer David talked to earlier comes into the office.

OFFICER

Sorry to disturb you, Chief.

(to David)

I ran a check on that phone number, and - and this may be a glitch - but apparently, it doesn't exist.

DAVID

That's bullshit; a phone number doesn't just not exist. Did you check it with every number in town?

OFFICER

The town, the state, the country, and there's no match.

David facepalms.

DAVID

This doesn't make any sense.

A detective burst into the office, nearly running over the other officer.

DETECTIVE

Chief! We just got a call from one of the workers at the train yard; they said they found one of our missing people!

David and Quimby perk up upon hearing this.

DAVID

Just one?

QUIMBY

All the shit luck we've had, one's good enough. Get all available units down there, and don't let the media on until we've done our sweep.

DETECTIVE

You got it, Chief.

He pats the other officer on the arm.

DETECTIVE

Let's get to it.

Cut to:

EXT. - TRAIN YARD. DAY.

It's raining now, and raining hard. There's yellow crime scene tape put up around a section of the train yard; there are several police cars - some marked, some unmarked - parked on one side of the tape; there are cops - some uniformed, and at least one detective - and several CSI's on the other side; a small white tent has been pitched up in the center of the yard. The CSI's are snapping photos of the crime scene.

ANOTHER ANGLE.

Two cars - David's car and another police cruiser - pull up. David and Quimby climb out of their respective cars. They flash their badges at the two officers standing guard, who let them pass under the crime scene tape. They make their way over to a detective.

QUIMBY

What do we got, Hicks?

HICKS

It's one of our missing people, Chief. Poor kid, he can't be no more than ten years old.

DAVID

So you found the body?

HICKS

It's right over here in this tent if you want to look at it.

He leads them over to the tent.

DAVID

You guys haven't moved the body at all, have you?

HICKS

No, we haven't. The boys just put this tent up when it started raining; didn't want any evidence on the body to wash away. Feel free to take a look.

ANOTHER ANGLE.

David opens the tent and looks in at the body - the body of a young boy, no more than ten years old.

DAVID

Poor kid.

Back on: Quimby.

He turns back to Detective Hicks.

QUIMBY

Has anyone called the coroner?

HICKS

He should be here in about ten minutes.

David closes the tent and stands up straight again.

DAVID

Besides the body, was there any other evidence?

HICKS

One of the CSI's bagged a video camera. No one's looked at it yet.

DAVID

Where's this camera?

HICKS

Head over to the van and talk to Phelps; he'll hook you up.

DAVID

Thanks.

He makes his way over to a police van; there are a few CSI's standing around the van comparing notes, and one's inside, bagging some evidence.

DAVID

Which one of you is Phelps?

The CSI in the van pipes up.

PHELPS

I am. Who are you and what do you want?

David flashes his FBI ID.

PHELPS

Great, now I feel like an idiot.

DAVID

Don't worry about it.

He puts his ID away.

PHELPS

How can I help you, Mr. Malis?

DAVID

I need to look at that video camera; there might be something on there that can help us.

PHELPS

I doubt there would be.

DAVID

Have you looked at it?

PHELPS

No.

DAVID

Then there just might be something. Let me look at it.

ANOTHER ANGLE.

Phelps takes the camera out of a plastic bin; the camera itself is in a brown paper bag. He puts on a pair of latex gloves before taking the camera out of the bag.

PHELPS

Here.

He hands David a pair of gloves.

PHELPS

Don't want any cross-contamination.

David puts the gloves on, and Phelps hands him the camera.

DAVID

Now, let's see what you have to say for yourself.

He opens the camcorder screen and turns the camera on. He presses a button on the screen, and the video starts to play; it's a father and son playing football - from the angle on the video, the camera had been set up on a tripod.

FATHER

Go long!

He tosses the football at his son, who catches it and tosses it right back.

FATHER

Good throw, son.

The video starts to short out; it gets all staticky.

DAVID

What's up with the static?

The video skips to another scene, this one in a forest; the camera's moving now, like someone's carrying it.

SON

Me and Jerry found this really cool place, Dad. You'll like it.

FATHER

Slow down. I'm not as young as I used to be.

The video screen is filled with static again, but only for a second.

SON

Hurry up, Dad!

The video skips again; this time the scene is in a house - specifically, the living room. The camera's moving around, and we can see that the door's been boarded up and the window curtains are shut. The father's kneeling under one of the windows, and he's got a shotgun in his hands - the son's the one holding the camera now.

SON

I'm scared, Dad.

FATHER

Don't worry, son. Everything's going to be okay.

The video screen's filled with static, and when it fades away, there's a third figure in the room - it's the humanoid figure we saw earlier.

SON

(SCREAMS)

FATHER

Jesus Christ!

He FIRES a shot at the creature. The screen's filled with static again, and when it fades away, all three are gone.

Back on: David.

He turns the camera off.

DAVID

Are you sure nobody messed with this thing?

PHELPS

What you see is what you get.

ANOTHER ANGLE.

David hands the camera back to Phelps, who puts it back into the paper bag, and then puts the bag back into the plastic bin.

DAVID

Well, a video doesn't just get staticky like that.

QUIMBY (O. S.)

Not unless he's around.

Quimby's joined them; he's leaning up against the side of the van.

QUIMBY

They say that you know he's around when electronics start going on the fritz.

DAVID

Please.

QUIMBY

David, you saw him earlier today.

DAVID

I said I saw _something_; that doesn't mean that I saw your monster.

He starts walking away.

DAVID

I'm gonna take a look around, see what I can find.

QUIMBY

Why not go talk to the coroner?

DAVID

Let him do the autopsy first; we can't learn anything until he's examined the body.

ANOTHER ANGLE.

David walks over to a set of train tracks. There's something on the rail. He bends down to get a better look at it.

It's a little Ziploc bag, and inside the bag is a piece of paper.

David picks up the bag and takes a closer look at it.

DAVID

Looks like one of the pages I took from Elliot's room yesterday; think I'll take it, could be important.

He puts the bag in his pocket as he stands.

ANOTHER ANGLE.

Quimby waves at him from the crime scene tape.

QUIMBY

David!

David walks over to him.

DAVID

What is it, Chief?

QUIMBY

Not much more we can learn here. How about we head back to the station and go over the evidence, compare notes?

DAVID

Later, Chief. I got my own evidence to examine. Besides, I gotta call Bill - give him a status update.

Cut to:

INT. - HOTEL ROOM. NIGHT.

David empties his pockets out onto the free bed - his cell phone, his wallet, his ID, the Ziploc bag.

Quick cut to:

INT. - HOTEL ROOM - BATHROOM. NIGHT.

David's in the shower; the bathroom's filled with mist from the hot water.

ANOTHER ANGLE.

David shuts the water off, opens the curtain, and wraps a nearby towel around his waist. He walks over to the mirror and wipes some mist off of it.

DAVID

There. Much better.

Quick cut to:

INT. - HOTEL ROOM - BATHROOM. NIGHT. A FEW MOMENTS LATER.

David's busy shaving; he's almost finished. He runs the razor over the last of the shaving cream on his face before running the razor under some water and tapping it off.

He puts the razor on the sink and bends down to splash some water on his face. As he bends down, we catch a glimpse of the Slenderman in the doorway, facing him.

David stands up straight again; he looks in the mirror - there's no sign of the Slenderman.

DAVID

Well, guess I'd better give Bill a call.

Quick cut to:

INT. - HOTEL ROOM - MAIN LIVING AREA. NIGHT.

David's dressed now - he's wearing a sweatshirt and a pair of sweatpants - and sitting on his bed. He's dialing on his cell phone, and after a few seconds, he puts it to his ear.

DAVID

Come on, Bill. Answer your phone.

INT. - FBI HEADQUARTERS - BILL'S OFFICE. NIGHT.

Bill's not in his office. The phone keeps ringing for a few seconds before going to an answering machine.

BILL'S VOICE

(via answering machine message)

Hi, you've reached Bill Douriff. I'm not in the office right now, so leave a message and I'll get back to you as soon as I can.

BEEP.

INT. - HOTEL ROOM.

DAVID

Bill, it's David. We've kind of made a break in the case - we've found the body of one of the people who went missing. I'll call you tomorrow after hearing the autopsy report.

He closes the phone and puts it on the free bed, then picks up the Ziploc bag.

DAVID

Let's see what you have to say, Mr. Paper.

He opens the bag and takes the paper out. It's been folded into quarters. David unfolds the paper; it's a message written in large black letters - "**STOP LOOKING; YOU WILL REGRET IT**".

ANOTHER ANGLE.

David folds the paper back into quarters and puts it back into the Ziploc bag.

DAVID

Why do I have the feeling that was left for me?

There's a knock at the door, startling David. He reaches for his gun, which is in its holster and sitting on the other bed in the room.

DAVID

Who is it?

MATT (O. S.)

(through the door)

Someone who's been chasing fairy tales.

David takes the gun out of its holster and hides it behind his back as he walks over to the door. He opens it, and standing on the other side is another man about the same age.

DAVID

Matt Bluestone?

MATT

Aren't you gonna let me in?

DAVID

Huh? Oh, yeah. Sure.

He steps aside and Matt enters the room. David shuts the door.

DAVID

What are you doing here, Matt?

MATT

Heard you were in town; figured I'd stop by for a visit. Ain't seen you since my days with the Bureau.

Back on: David.

He puts the gun back in its holster and slips it under the bed's comforter.

MATT

Paranoid, much?

DAVID

I guess this town's stories are starting to get to me. The more I hear about this Slender character, the more I start to think that maybe it's really out there.

MATT

You've seen him, haven't you?

DAVID

What makes you say that?

MATT

I can tell. Remember, I've been hunting things like that for my whole life.

DAVID

So you've given up on the Illuminati?

MATT

I'm still trying to get proof of those guys.

He sits on the bed.

MATT

So ol' Bill just sent you up here, right?

DAVID

Small town. He figured I could handle it myself.

MATT

Right.

DAVID

Look, Matt, there's gotta be a reason you showed up here tonight, and I know it wasn't just to get caught up on old times. What is it? And if you tell me it's about Slenderman, I'll punch you.

MATT

Good thing I'm not saying it, then. Look, David, you're helping the police with this case, I get that, but as a former investigator to a current one, I want to help you out.

DAVID

Even if I wanted to, Matt, I can't. You know the Bureau's policy - unless you're an arrestee, a witness, or making a citizen's arrest, a civilian can't be involved in a federal investigation. I'm not busting you, and you don't have anyone's hands tied behind their back with your shoelaces, so unless you want to come forward as a witness...I'm sorry, Matt, but I can't let you help me. Unless...

MATT

What? Find a loophole?

DAVID

Maybe you _can_ help me; just answer a question.

ANOTHER ANGLE.

He takes his cell phone out of his jacket pocket and flips it open.

DAVID

Is your phone number 952-8801?

MATT

No. David, you know my cell phone number; I haven't changed the damn thing in over five years.

David flips through his contacts list. He finds Matt's phone number - 599-0161

DAVID

You're right; I still got you in here with that number.

He closes his phone and puts it back in his jacket pocket.

DAVID

I had the cops run that number earlier; apparently, it doesn't exist.

MATT

That's impossible.

DAVID

You know what else is impossible? A man with no face who just vanishes after I shoot him in the head.

THAT catches Matt's attention.

MATT

Man with no face? Was he tall? Long arms? Black suit?

DAVID

Matt, don't go there.

MATT

David, you just admitted that you saw it. You shot it! You saw it with your own eyes and shot it with your own gun! That should prove to you that this thing exists!

DAVID

Matt, two college nerds said they shot and killed Bigfoot, and that turned out to be a monkey suit filled with pig guts.

MATT

That was different, man. You saw a flesh and blood monster! When'd you see it?

DAVID

This afternoon.

Matt stands up from the bed and starts walking towards the door.

MATT

Get dressed, David. I want you to show me exactly where you saw it.

DAVID

I don't have time to be going after fantasies, Matt.

Matt turns back to David. He grabs him by the collar of his sweatshirt.

MATT

This is not a fantasy, David - This. Is. Real!

DAVID

Matt, you have three seconds to let me go before I floor you.

Matt releases his grip on David's shirt.

MATT

Sorry. Got carried away. David, please - show me where you saw the Slenderman.

DAVID

Fine, I'll humor you. Meet me in the parking lot in five minutes.

MATT

Deal.

Matt walks to the door and opens it. Before leaving, he turns back to David.

MATT

Keep your fingers crossed, though. If the stories are true, well...Let's just say that I don't want this night to totally suck for the both of us.

He finally leaves; the door slams shut behind him.

Back on: David.

He throws his jacket on over his sweatshirt.

DAVID

Even after all this time, he's still chasing fairy tales.

His ringtone goes off.

DAVID

Please be Bill.

He takes his phone out of his pocket and flips it open before putting it up to his ear.

DAVID

Hey Bill.

VOICE

(distorted)

Stay away from there, Agent Malis.

DAVID

You again?

VOICE

(distorted)

This is for your own good, David. If you go down this dark path, there is no turning back. After all, you're already marked.

DAVID

How do you know that? Who are you, anyway?

CLICK. The line goes dead.

DAVID

Asshole.

He puts his phone back in his pocket.

DAVID

He's really starting to fucking bug me.

Cut to:

EXT. - HOTEL - PARKING LOT. NIGHT.

Matt's standing next to David's car; he's got his arms crossed and he's impatiently tapping his foot. He checks his watch.

MATT

He said to be down here in five minutes, and it's been nearly ten.

ANOTHER ANGLE.

David finally shows up; he walks out of the hotel and starts making his way over to the car.

MATT

What'd you do, stop for a six minute shit?

DAVID

Just get in the damn car.

Matt climbs into the passenger seat.

DAVID

We're not gonna find much, though.

He climbs into the driver's seat.

Cut to:

EXT. - PARK. NIGHT.

Matt and David are standing at the edge of the woods; David's got his gun in one hand, and in the other hand he has a flashlight. Matt's also got a flashlight.

DAVID

See? There's nothing here.

MATT

Well, do you remember where it was standing when you saw it?

DAVID

Well, the little boy was standing right where you are, so...

David takes a few steps forward, coming closer to the treeline.

DAVID

I think it was about right here. He was looking this way -

He faces away from Matt.

DAVID

And when I told it to get away from the kid, it turned to me -

He turns towards Matt.

DAVID

I shot at it, and then it was gone.

MATT

Interesting.

He waves his flashlight around the area, lighting up the spot where David's standing and some of the trees.

MATT

Wait a minute.

He starts walking towards the treeline, stopping when he's standing next to David.

MATT

I think I saw something.

DAVID

Uh, yeah. Trees.

MATT

No, something in the trees.

DAVID

An owl.

MATT

Owls don't look human.

He stares at the treeline for a moment, but there's nothing there.

MATT

Nah. The flashlight's probably fucking with my eyes.

DAVID

See? I told you we wouldn't find anything.

MATT

Not this time.

He turns off his flashlight.

MATT

Oh well.

DAVID

Come on, Matt, let's get out of here. I'll drop you off at your place.

MATT

All right.

They start walking back to David's car. As they get closer, the Slenderman appears behind them, but only for a split second before disappearing again.

Fade to:

INT. - LIBRARY. DAY.

David steps into the library and walks up to the librarian's desk.

DAVID

Excuse me, I was wondering if you could help me with something.

LIBRARIAN

Sure. What do you need?

DAVID

I need every reference book you have on monsters and myths.

LIBRARIAN

Local or national?

DAVID

Preferably local.

LIBRARIAN

Well, we have a section on Oak Falls right over here. I'll show you.

Quick cut to:

A FEW MOMENTS LATER.

David and the librarian are standing between two aisles; the shelves are full of all sorts of books.

LIBRARIAN

Here you go.

DAVID

Thanks.

He starts taking books off the shelves.

Quick cut to:

INT. - LIBRARY. DAY. LATER.

David's sitting at a table; there are at least twenty books in two stacks next to him on the table. He's flipping through one.

DAVID

Come on; there's gotta be something in here.

He closes the book and moves on to the next one.

DISSOLVE TRANSITION:

One by one, the books are taken off the stacks, until there's only one book left.

DAVID

You'd better have something.

He opens the book and flips to the table of contents.

DAVID

Let's see here...Myths, myths - there. Okay, now...Slenderman, that's what I'm looking for.

He flips through the book until he reaches the section he's looking for. The first thing he sees is a blurry black-and-white picture dated July 1953; the picture is a forest, and in between two dead trees is a tall, faceless figure, though it's difficult to make out with the blurred image.

DAVID

Finally found you, you son of a bitch. Now you're gonna tell me everything I wanna know.

His cell phone vibrates in his pocket. He takes it out and flips it open; he's gotten a text message: "Leave it alone. Leave it be. This is your final warning."

David hits the "Delete" button, then puts the phone back in his pocket.

DAVID

I don't have time for that.

He flips through the book.

DAVID

Damn, still nothing.

He closes the book.

DAVID

I guess I could always try Town Hall.

He stands up to leave; for a brief second, we can see Slenderman in a nearby window.

Cut to:

INT. - TOWN HALL. DAY.

David's at a computer. He's skimming through a database.

DAVID

There's gotta be something in here that can help me.

He searches for a few more seconds.

DAVID

If only I knew what I was looking for.

He looks over to someone sitting at another computer nearby.

DAVID

Hey, um...What's your name?

JOSH

Josh. Josh Durham.

DAVID

Hey, Josh. I'm David. Look, I need some help here. What can you tell me about the Slenderman?

For a second, it looks like all the color has drained out of Josh's face.

JOSH

I'm not talking about that.

DAVID

Sorry, I should have worded that better. Do you know the story? The legend? From what I've heard, he won't come after you if you're just checking out the legend.

JOSH

You're right; he won't. Come on.

They stand up from their computers. Josh leads David to a bookshelf. He takes off a thick green leather-bound book and hands it to David.

JOSH

Here, read this. It's got everything you need to know about the town's history.

DAVID

Even the legend of the Slenderman?

JOSH

That's part of the town's history. I don't know much about the story, but one thing they say is that he's a vengeful spirit.

David gives Josh a scrutinizing look.

DAVID

A ghost?

JOSH

More like a demonic entity.

Back on: David.

He opens the book and flips through it for a few seconds before coming to a section titled "**THE LEGEND OF THE SLENDERMAN"**

DAVID

Found it. All right, let's see what you have to tell me.

He starts reading.

DAVID

What did you mean when you said that he was some sort of vengeful spirit?

JOSH

Well - and I think it's in that book - legend has it that the Slenderman is the spirit of a man who lived during the mid-1800's. He was said to be a murderer and a pedophile, and when he was found guilty, he was sentenced to death.

DAVID

Firing squad? The gallows?

JOSH

Nope. It's in the book; some sort of sick combination of crucifixion and The Rack.

David looks up from the book.

DAVID

Crucifixion? The Rack? Those things haven't been used since the Ottoman Empire and the Spanish Inquisition.

David gets back to reading the book.

DAVID

Here it is. Looks like you and this book agree. From what I can tell here, this man was tied to a sapling and as it grew it stretched him out.

JOSH

It pulled his shoulders out of their sockets and practically ripped him in half. That's how the man died.

DAVID

He didn't die before that?

JOSH

Yeah, the story doesn't go into much detail about that; but I'm guessing that there was someone around to give him food and water as he was slowly stretched out.

David gets back to reading the book. He finds something that interests him.

DAVID

Wait. The first recordings of the Slenderman were three days after the man's death.

JOSH

Yup.

DAVID

So this has been going on longer than anyone knows. We're not just talking six months or fifty years.

Cut to:

INT. - POLICE STATION - QUIMBY'S OFFICE. DAY.

David's standing across the desk from Chief Quimy. He's got his hands placed on the desk.

DAVID

We're talking over a hundred and fifty years of this thing being around.

QUIMBY

David, didn't I tell you not to go looking for it?

DAVID

That's one rule I'll break if it helps the investigation, Quimby. This thing's been around for over a hundred and fifty years; who knows just how many missing people haven't been accounted for.

QUIMBY

David, I'm asking you - please, leave it alone. Terrible things happen to people who actively look for this thing.

DAVID

I'm not actively looking for Slenderman. I'm gathering clues that could help us find these missing people. Speaking of which, I have to go talk to the coroner about our dead body - which Slendy wasn't supposed to leave, I take it.

Cut to:

INT. - MORGUE. DAY.

David and the coroner, Herschel Biggs, are standing across from each other; between them is the body of the young boy, now lying on a metal table with half its body covered with a white sheet.

DAVID

Poor kid. Judging from that video, he must have been scared to death.

BIGGS

Would you believe that's the best explanation I can come with about how he died?

DAVID

Seriously?

BIGGS

I wish I were joking, Mr. Malis.

He pulls the sheet back from the torso; there are marks where the torso's been cut open for examination. Biggs uses a pair of forcips to pull back the skin, showing the internal organs - which have no damage to them at all.

BIGGS

There's no signs of blunt force trauma, no signs of disease, and the boy's blood didn't show any traces of toxins.

DAVID

What about gunshot wounds? In the video, the father had a shotgun.

BIGGS

Nothing. Though there is one thing that caught me as odd.

He uses a pen to point to the lungs, which are showing a slight discoloration.

BIGGS

The only way a person's lungs would look like that is if he were smoking or inhaling toxic fumes, but when I did my examination, I didn't find any lethal traces of said fumes.

David rubs his chin in though.

DAVID

This doesn't make any sense. So, he wasn't poisoned, he wasn't bludgeoned to death, he clearly wasn't shot, and he only had a small amount of toxic fumes in his lungs. He's only ten years old, so we can obviously rule out old age. So, that means that this kid was literally scared to death?

BIGGS

Do you have a better explanation?

David thinks for a second.

DAVID

You know what, I don't.

ANOTHER ANGLE.

Biggs puts the skin back in place, followed by the sheet, which he's about to pull up over the boy's head.

Suddenly -

The boy's eyes open. He sits up and starts SCREAMING!

BOY

(SCREAMS)

This startles Biggs and David; they fall back in shock. David quickly takes out his gun and aims it at the boy, who finishes screaming and falls back to the table, dead again.

Back on: David.

He glances at Biggs from the corner of his eye; he's clearly shaken up.

DAVID

(shaken up)

Has that ever happened before?

BIGGS

(startled)

No. Never.

David keeps his gun trained on the boy as he slowly approaches. He pokes the body with his gun.

DAVID

Yeah, I think he's dead this time. But if he jumps up like that again, I'm gonna shoot him.

Cut to:

INT. - MATT'S HOUSE. DAY.

Matt's sitting on the couch, watching TV and eating a grilled cheese sandwich. His dog, a Rottweiller, is lying on the floor nearby.

The dog raises its head, then stands and starts barking in an aggressive manner - something's got it spooked.

MATT

What's the matter, boy?

ANOTHER ANGLE.

The TV starts to get staticky.

Back on: Matt.

He drops his sandwich in shock.

MATT

Oh, fuck me.

Cut to:

EXT. - POLICE STATION. DAY.

David's sitting in his car. He dials a number on his cell phone, then puts the phone to his ear.

DAVID

Come on, Matt. Pick up.

INT. - MATT'S HOUSE.

There's no sign of Matt or the dog. Matt's cell phone is on the coffee table; it's ringing.

DAVID'S CAR.

David's impatiently tapping his finger on the steering wheel.

DAVID

He's not answering.

He closes his phone and puts it in his pocket.

DAVID

Guess it's time for a house call.

He turns the key in the ignition, puts the car in gear, and pulls out of the parking lot.

Cut to:

INT. - MATT'S HOUSE. DAY.

David opens the door and walks into the house.

DAVID

Matt! Matt, where are you? Come on, buddy, this is no time for games.

The only response he gets is silence.

ANOTHER ANGLE.

David spots Matt's cell phone on the coffee table. He picks it up. There's one missed call.

DAVID

That was me.

He puts the phone back on the coffee table.

David suddenly starts coughing.

DAVID

(coughs)

Jesus, what's that smell?

He hurries over to a window. He slides open the curtain. For a brief second, we catch a glimpse of the Slenderman before it vanishes.

DAVID

What the - ?

He opens the window and takes a look.

DAVID

Was that - ?

He takes out his gun.

DAVID

Son of a bitch.

OUTSIDE -

David hurries around to the backyard; he's got his gun out in front of him. He takes a quick look around.

DAVID

Where are you? Show yourself!

There's no evidence that anything was ever there. David slowly lowers his gun.

DAVID

Okay, this is getting creepy.

His ringtone goes off. David takes his phone out of his pocket, flips it open, and puts it to his ear.

DAVID

Matt, is that you?

VOICE

(distorted)

Matt is gone.

DAVID

What?

VOICE

(distorted)

He got too close and too curious, and paid the price.

DAVID

What the fuck have you done with him?

VOICE

(distorted)

You can still leave, David. Leave, and it won't go after you.

DAVID

Oh, shut up.

VOICE

(distorted)

If you continue, you will suffer the same fate as Matt.

DAVID

All right, that's it. Listen to me, you son of a bitch, I don't know who you are or where you are, but I swear to God, I will find you, you hear me? Do you fucking hear me?

CLICK. The line goes dead. David SCREAMS into his phone.

DAVID

DON'T YOU FUCKING HANG UP ON ME!

He closes the phone and puts it back into his pocket.

DAVID

Where the fuck is that guy?

Cut to:

INT. - MINI MALL. DAY.

The lights are off in the mini mall. David comes through the door and lets it slam shut behind him. He takes out his gun and a flashlight and turns the flashlight on. It's not much, but it gives him some light to see by.

DAVID

He's in here somewhere, I'm sure of it.

There's the sound of footsteps on the floor. David looks in the direction they're coming from and sees someone rounding a corner into a small store - someone in a brown hood.

DAVID

Him again?

He hurries towards the store the hooded person ran into. When he gets close enough, the hooded person steps out and DECKS him, flooring him.

DAVID

Ow! What the fuck!

He shines his flashlight on his attacker - someone in a white face mask along with the brown hood.

Back on: David.

He quickly gets to his feet and aims the gun at the masked man.

DAVID

Who are you?

The masked man doesn't answer; instead, he just turns and runs away.

DAVID

Shit. I hate it when they run.

He starts running after the masked man.

DAVID

Stop!

Quick cut to:

INT. - MINI MALL - MANAGER'S OFFICE. DAY.

David KICKS the door open and sweeps the room with his gun. There's no one in here. He slowly lowers his gun.

DAVID

How hard is it to find one guy in a mask and a hood?

He spots the controls for the radio system nearby.

DAVID

This probably isn't a good idea, but at least he won't hear where I'm coming from, either.

He hits the button, turning on the radio. The song playing at the moment is "Rock and Roll All Nite" by Kiss.

DAVID

Now, where are you hiding?

He leaves the office.

Cut to:

INT. - MINI MALL - RESTROOM. DAY.

David slowly walks up to the nearest stall. He stands in front of the door and KICKS it open before aiming his gun. There's nothing. He does the same procedure with the next stall; still nothing.

There's one more stall to check. He KICKS the door open, before quickly turning away.

DAVID

Jesus, doesn't anyone ever clean these damn things?

Cut to:

INT. - MINI MALL - SPORTS' STORE. DAY.

David takes a peek over the checkout counter; there's nothing there.

DAVID

Where the hell did that guy go?

ANOTHER ANGLE.

The masked man is slowly sneaking up behind him; he's got a metal baseball bat in hand and he's holding it like a sword. As he gets closer to David, he raises the bat.

David turns around and barely has any time to get out of the way of the swing. The bat harmlessly hits the counter.

David raises his gun and points it at the masked man.

DAVID

Freeze! Drop the bat and get on the ground!

The masked man swings the bat again, this time grazing David's arm. Another swing hits David square in the shoulder, sending him to the floor.

David quickly rolls over onto his back and aims his gun again.

DAVID

Last warning before I shoot, asshole!

The masked man comes at him again, and David FIRES. The first two shots go wide; the third one hits the masked man in the left shoulder. He falls to the ground, but quickly gets back up and runs away; he's pressing his good hand against the wound.

Back on: David.

He climbs to his feet and rubs his shoulder with his free hand.

DAVID

He's not getting far with that wound.

ANOTHER ANGLE.

David hurries out of the store. There's a trail of blood on the floor. It leads to the restroom.

David KICKS the restroom door open, but there's no one here. The only sign that anyone had just been here is a bloody handprint on a nearby sink and some blood on a roll of paper towels.

DAVID

He's plugged the wound. He's one smart son of a bitch.

He leaves the restroom; by now, the song on the radio has changed to "Renegade" by Styx.

The masked man LEAPS at David from the right side, tackling him to the ground. David's gun goes sliding away from him.

ANOTHER ANGLE.

The two of them start wrestling. The masked man is practically CLAWING at David's face with his good hand. David manages to reach up and grab the masked man by the throat.

They roll over, so that now David's the one in control. He PUNCHES the masked man, then GRABS the mask by the eye holes.

DAVID

Let's see who you really are.

The masked man PUNCHES David in the chest, then KICKS him off before climbing to his feet and running away. As he runs, the paper towel falls out of his shoulder.

Back on: David.

He climbs to his feet, quickly picks up his gun, and FIRES a shot. He misses.

DAVID

You got away from me this time.

ANOTHER ANGLE.

He picks the paper towel up by a corner that doesn't have blood on it.

DAVID

Gotta get this to the police. Maybe they can tell me who this guy was.

He starts coughing.

DAVID

God, that smell again.

Cut to:

INT. - POLICE STATION - EVIDENCE ROOM. DAY.

David's standing at the check-in counter. He has the paper towel in a plastic shopping bag, and he's impatiently tapping his fingers on the counter.

The officer on duty finally arrives.

DAVID

Let me guess: Bad shrimp.

EVIDENCE OFFICER

No, some dumbass misplaced the gun used in last month's carjacking. But everything's fine now. What do you need, Agent Malis?

DAVID

I got into a scuffle with someone earlier, and I need to know who.

EVIDENCE OFFICER

So, why bring this problem to us?

DAVID

The guy was in a mask and a hood; I don't know who it was. Just get the CSI nerds to check the blood DNA on this paper towel, okay?

EVIDENCE OFFICER

Sure thing, Agent Malis.

DAVID

Also, is Chief Quimby in? I need to talk to him.

EVIDENCE OFFICER

Sorry; he had to leave earlier. Said something about a family emergency.

DAVID

I'll see him later, then. Don't want to interrupt.

He turns to leave, only to run into a woman who's looking very distraught.

DAVID

Oops. Excuse me.

ARLENE

Wait! I need someone to help me. Can you help me, Detective?

DAVID

I'm not a detective, I'm FBI.

ARLENE

Even better.

David runs a hand through his hair. He clearly doesn't want to help her.

DAVID

Well, that depends on what you need help with.

ARLENE

It's my cousin; I can't get a hold of him.

DAVID

I'm sure he's just busy.

ARLENE

Even so, he would always call me back! I've left five messages since last night, but he hasn't gotten back to me.

DAVID

Okay, tell you what, Miss, um...

ARLENE

Alten. Arlene Alten.

DAVID

Miss Alten. What's your cousin's name?

ARLENE

Fred Griffin.

THAT gets David's attention.

DAVID

(shocked)

Wait, what?

He regains his composure.

DAVID

We're gonna go check on him and Jerry right now. Come with me.

Cut to:

EXT. - POLICE STATION - PARKING LOT. DAY.

David and Arlene run over to David's car.

DAVID

Get in. And show me where Fred lives.

ARLENE

Wait; how do you know Fred and his son?

DAVID

Met them yesterday; now get in.

ANOTHER ANGLE.

They climb into the car. David starts the ignition, and they drive off.

Cut to:

EXT. - FRED'S HOUSE. EVENING.

The car pulls up to the curb. David shuts the car off and turns to Arlene.

DAVID

Arlene, wait here.

ARLENE

No. Fred's my cousin; I'm coming with you.

DAVID

I understand your concern, Arlene, I really do. But if this is somehow connected with what happened at the park yesterday, then, well...Look, I'll go see if anyone's home, and if they are, then everything's peachy, and I can get back to my investigation.

ARLENE

And if there isn't anyone home?

DAVID

Well, that's not necessarily a bad thing, is it? Just wait here.

ANOTHER ANGLE.

He gets out of the car and walks up to the front door. He lightly knocks on it.

DAVID

Fred! You home? It's David Malis; we met at the park yesterday.

He knocks on the door again.

DAVID

Come on, man. Your cousin Arlene's here; she's worried about you.

He knocks on the door a third time.

DAVID

Jerry? Come on, guys, this isn't funny.

He tries the door handle; the door's locked.

Back on: Arlene.

She opens the passenger-side door.

DAVID

Arlene, wait there.

ARLENE

I was just going to tell you that Fred keeps the spare key in the flower pot.

DAVID

Oh.

He reaches into a nearby flower pot and takes out a key. He puts the key in the lock.

DAVID

I'm coming in, guys. Okay?

He unlocks the door and pushes it open, then steps inside.

Jerry's lying against a far wall; he's got a hole blown through his chest. On the wall above him is the words **"GOD FORGIVE ME"** written in blood; also drawn in blood is the faceless stick figure. Fred's on the couch; there's a shotgun in his lap, and the barrel's pointing at what's left of his head.

Back on: David.

He quickly turns away from the scene.

DAVID

Oh, Jesus.

ANOTHER ANGLE.

Arlene joins him.

DAVID

Arlene, don't look!

ARLENE

Oh God!

David turns her away from the bloody scene.

DAVID

I said, don't look!

He guides her back to the front door.

DAVID

Come on; let's go back to the car. You don't need to see this.

As they walk out the front door and back to the car, David takes his cell phone out of his pocket and dials a number.

DAVID

Don't ask any questions; just get the coroner down to 201 West Hudson Street.

Fade to:

EXT. - FRED'S HOUSE. EVENING. SOME TIME LATER.

A police barricade has been set up; some officers are keeping the onlookers back.

ANOTHER ANGLE.

Two EMTs wheel out a stretcher with a body bag on it. They put the stretcher in the back of a van marked **"CORONER"**; a moment later, another stretcher is wheeled out.

OVER TO - DAVID.

He's standing next to his car. Arlene's sitting in the passenger seat. She's staring down at her hands.

ARLENE

I...I can't believe it. I can't believe they're gone. Fred and I were so close; Jerry looked up to me as a mother.

DAVID

I'm sorry.

He spots a CSI heading into the house.

DAVID

Hey! What are you doing?

CSI

Just snapping photos of the scene.

DAVID

I'm coming with you. Don't worry; I won't contaminate anything. Promise.

INT. - FRED'S HOUSE. EVENING.

The CSI snaps a photo of the bloody writing and drawing. David's standing right behind him.

CSI

I've seen a lot of the drawing, but this is the first time I've seen seen people draw it in blood.

DAVID

What about the message?

CSI

See it all the time on suicide notes and the like.

QUIMBY (O. S.)

So, we got a murder-suicide, huh?

ANOTHER ANGLE.

Chief Quimby has just come through the front door.

QUIMBY

I don't know about you guys, but I hate those.

DAVID

Quimby, what are you doing here? What about your family emergency?

QUIMBY

It's been taken care of.

He turns to the CSI.

QUIMBY

You get everything you need?

CSI

Sure do, Chief.

He heads outside.

ANOTHER ANGLE.

David is about to head out the door, but he stops and turns back to Quimby.

DAVID

So, your emergency's all taken care of, huh?

QUIMBY

I already told you that.

He starts rubbing his shoulder.

DAVID

You okay, Chief?

QUIMBY

Oh, yeah, I'm fine. Just a little incident at the range this morning with one of the rookies who was shooting in his firearm; had a misfire and a piece of shrapnel got me in the shoulder.

David eyes him suspiciously.

DAVID

Put a bandage on it?

QUIMBY

Of course.

DAVID

And this was before the family emergency, I assume?

QUIMBY

Are you trying to insinuate something, David?

DAVID

Not at all, Chief. It's just, I was attacked by someone earlier and ended up shooting him in the same shoulder.

QUIMBY

What a coincidence.

DAVID

Yeah. Coincidence.

They stare at each other for a moment.

DAVID

Okay, this is starting to get awkward. I'm gonna take Miss Alten.

QUIMBY

Then what?

David doesn't respond; he just walks out the door.

EXT. - FRED'S HOUSE. EVENING.

David walks over to his car. He stops at the passenger seat.

DAVID

Arlene, I know you're upset, but right now the best thing for you to do is go home and get some rest. I'll drop you off.

ARLENE

Thank you.

David walks around to the driver's side and climbs into the car.

ARLENE

Why, David?

DAVID

Why what?

ARLENE

Why'd he do it?

DAVID

I guess he was scared. I mean, the three of us all saw it yesterday - Fred, Jerry, me. Jerry was scared, and Fred was terrified. I'm no mind reader, Arlene, but if I had to guess, I suppose he figured that he would rather kill Jerry and then himself before the Slenderman got them.

ARLENE

But still, why kill his own son?

DAVID

I wish I had the answers, Arlene, I really do.

He starts the car.

DAVID

But I'll have them soon.

He drives off.

Cut to:

EXT. - PARK. NIGHT.

It's raining again, but David doesn't seem to notice as he walks up to the woodline.

DAVID

I know you're in there! I know you can hear me, you son of a bitch! I'm not afraid of you! Why don't you come out and show yourself to me! Come on, I'm right here! Come and get me! I dare you! I dare you, motherfucker! Come on! Come and get me, I'm right here! I know you want to! I know you want to take me, I know you want to kill me! Come on! Come on, you coward! Come and get me, you fucking piece of shit!

He takes out his gun and FIRES a shot into the air.

DAVID

Where are you?! Where the fuck are you?!

He spots something in the trees.

DAVID

There you are. Don't think I don't see you, asshole. I'm coming for you!

He heads into the woods.

Cut to:

EXT. - WOODS. NIGHT.

David's now got a flashlight out; he's holding it in one hand, in the other he's holding his gun. He waves the flashlight around, lighting up the woods around him.

DAVID

Now where the fuck did you go?

ANOTHER ANGLE.

The flashlight's beam illuminates the Slenderman's pale white head. David takes aim with his gun.

DAVID

There you are.

Before he can fire, Slenderman disappears.

DAVID

Hey! Don't you fucking run away from me!

He starts looking around again, waving his flashlight and gun around as he tries to find this thing. He spots it between some trees. It quickly vanishes.

Back on: David.

He starts coughing. He falls to his knees and coughs up some blood.

DAVID

What the hell? What's happening to me?

He manages to climb to his feet and aims his flashlight and gun again.

ANOTHER ANGLE.

Slenderman's right behind him. David turns around.

DAVID

WHOA!

He stumbles and falls backwards. He quickly aims his gun at Slenderman and fires. The bullet hits Slenderman in the chest, but the creature doesn't seem to notice. It tilts its head to one side, as though it's studying David.

David pulls the trigger again. CLICK. His gun's empty.

DAVID

Well, this isn't good.

He THROWS the flashlight at Slenderman. It bounces off of the creature, and it disappears.

David stands up and reloads his gun.

DAVID

Where are you going, you coward?!

His phone rings. He takes it out of his pocket and answers.

DAVID

Whoever this is, I don't exactly have time for you right now.

VOICE

(distorted)

I'm trying to save you, David. Leave. NOW.

CLICK. The line goes dead. David puts the phone back into his pocket.

DAVID

Trying to save me, my ass.

He starts walking forward, taking slow steps since he can't see very well in the dark.

ANOTHER ANGLE.

Slenderman briefly appears behind him for a second before disappearing again.

Cut to:

ANOTHER PART OF THE WOODS -

David takes a peek around a large tree before coming around it, his gun out in front of him. There's nothing there. He slowly lowers his gun.

DAVID

I'm starting to get tired of this.

A bony hand reaches out to him from behind. It touches his shoulder. David quickly turns around, and there's the Slenderman.

DAVID

JESUS!

He raises his gun, but doesn't pull the trigger. At least, not at first. His finger starts to squeeze the trigger, but before he can fire, the Slenderman vanishes.

David slowly lowers his gun.

DAVID

Okay, I'm officially freaked. Maybe I should actually listen to that guy's advice and get the hell out of here.

Cut to:

EXT. - PARK. NIGHT.

David runs over to his car. He opens the driver's side door and climbs in before turning the key in the ignition.

ANOTHER ANGLE.

Slenderman's standing RIGHT IN FRONT OF THE CAR!

DAVID

I've had enough of your lurking in the dark, you bastard.

He puts the car in drive and SLAMS his foot on the accelerator. The car SPEEDS towards Slenderman and SLAMS into it, throwing it under the car.

DAVID

This should take care of you.

He backs up and rolls over Slenderman again, before driving forward, then backward, then forward, then backward again, this time stopping on Slenderman's head.

ANOTHER ANGLE.

David puts the car in drive, but keeps his left foot on the brake pedal. He SLAMS his right foot down on the accelerator again. The tire SPINS OUT on Slenderman's head for a few seconds, burning rubber and flesh until David takes his left foot off the brake and SPEEDS off.

Slenderman sits up.

Cut to:

EXT. - HOTEL. NIGHT.

David parks his car and shuts it off. He climbs out and hurries over to the hotel.

INSIDE -

There's no one around. David takes out his gun and sweeps the area.

DAVID

Hello? Is anyone here?

He looks over the reception counter; there's no sign of the receptionist. There's no sign of anyone.

Quick cut to:

UPSTAIRS.

David's slowly walking down the hallway; he's still got his gun out and ready, just in case he needs to use it.

DAVID

Where is everyone? Is anyone around?

He stops at a door and knocks on it.

DAVID

Anyone in there? Hello?

He doesn't get an answer.

DAVID

Christ, this is freaking me out.

A loud SCREAM comes from down the hall - a woman's scream.

WOMAN (O. S.)

(SCREAMS)

David runs towards the scream. He stops at a door near the end of the hall and KICKS it open. He sweeps the room with his gun; aside of signs of a struggle, there's no sign of anyone ever being here.

David slowly lowers his gun.

DAVID

I know I hears someone in this room.

He turns around -

The Slenderman is standing right there!

DAVID

You're still alive, you piece of shit?!

ANOTHER ANGLE.

He CHARGES at the Slenderman, SLAMMING his shoulder into it and pushing it against the far wall. He PUNCHES it in the stomach, then BASHES its chest with the butt of his pistol. He then aims his gun at Slenderman and pulls the trigger a few times. Two rounds hit before Slenderman vanishes.

David lowers his gun.

DAVID

That's it. I've got to get out of here.

His phone starts ringing. He answers.

DAVID

Listen to me, you son of a bitch.

INT. - POLICE STATION - EVIDENCE ROOM.

The young officer's on the phone.

EVIDENCE OFFICER

Whoa! Mr. Malis, calm down.

INT. - HOTEL - HALLWAY.

DAVID

(relieved sigh)

Oh, it's you. Sorry, I thought you were someone else.

He starts walking down the hallway; he puts his gun away as he goes.

DAVID

What do you got for me?

EVIDENCE ROOM.

EVIDENCE OFFICER

Well, we examined the blood sample you brought us, and - and maybe this is a computer glitch - it says that the blood belongs to -

HOTEL HALLWAY.

David looks at his phone.

DAVID

What? Hello, what? I can't hear you!

He closes his phone and puts it back into his pocket.

DAVID

What was he trying to tell me?

He stops in front of his hotel room.

DAVID

Oh, who the fuck cares anymore?

He opens the door.

INT. - HOTEL ROOM.

There's someone in the room already - it's the hooded masked man. David instantly CHARGES for him. He grabs the man by the collar of his hoodie and SLAMS him up against the wall.

DAVID

Who are you? WHO THE FUCK ARE YOU?!

He lowers the hood and takes off the mask -

DAVID

You've got to be fucking kidding me.

ANOTHER ANGLE.

It's Chief Quimby!

DAVID

Chief? It was you?

QUIMBY

Surprised, aren't you? Somehow, I knew you would be.

David lets Quimby go and takes a step back; he looks absolutely shocked.

DAVID

What the hell do you think you're doing?

QUIMBY

I WAS trying to protect you.

DAVID

From that creature? From the Slenderman?

QUIMBY

I warned you that if you went looking for this thing that it would find you first.

DAVID

That doesn't answer my question.

QUIMBY

And what question would that be?

DAVID

Why? WHY?!

Quimby just smiles. He pushes away from the wall and goes to stand next to the window. He pushes the curtains aside and looks down to the parking lot; for a brief second we can see the Slenderman down there, before it vanishes.

ANOTHER ANGLE.

Quimby looks back to David and casually leans against the windowsill.

QUIMBY

You know, I was curious once. I'd heard the stories and even though I was told to ignore it, I went looking for it anyway. My dad told me that I had some sort of death wish, but what fifteen year old kid listens to his parents, right? Well, needless to say, I saw it. And it saw me.

DAVID

Then why didn't it take you?

QUIMBY

He doesn't take all his victims. At least, not right away. Take me, for example. I first saw the Slenderman twenty years ago when I was just a teenager. And then he left me alone for fifteen years. Of course, shortly after I first saw him, I had people tell me I was crazy, that I should have been institutionalized. But I managed to convince everyone that I was sane.

DAVID

Oh, like running around in a mask and a hood trying to beat my head in with a baseball bat is sane.

QUIMBY

I said I was trying to protect you from the Slenderman.

He rubs his shoulder.

QUIMBY

Besides, you got me with a good shot, remember?

DAVID

I should have known. I should have known that you were lying. Even a rookie's firearm wouldn't have a misfire like the one you told me about, and even if it would, the damage would be on the shooter's face and it would mostly be gunpowder burns and some shrapnel from the bullet; bullet shrapnel wouldn't travel more than a foot or two, and unless you were standing right next to the gun when it exploded -

QUIMBY

We get it.

DAVID

What I don't get is why you've been running around like that and leaving me those phone calls - and if you tell me it was to protect me from that Lovecraftian knockoff, I'll punch you.

QUIMBY

I was afraid of what would happen to you if you saw it. Bill had told me that you were always willing to get to the bottom of whatever case you were working, and I knew that you would be tempted to hunt Slenderman down. That's why I told you to leave it alone, that's why I kept calling you. But you wouldn't listen to me, you just wouldn't leave it alone. So I had to take drastic measures, even if that meant harming you - anything to make you leave it alone. But you just couldn't, could you? No, you had to keep going.

DAVID

How do you know that?

QUIMBY

How do you think? How do you think I've been able to call you and know what you were doing when I did?

DAVID

Were you...stalking me?

QUIMBY

I wouldn't say "stalking", but yes, I was following you. I was trying to make sure nothing bad happened to you.

He starts to walk over to David. David quickly takes out his gun and aims it at Quimby's head.

DAVID

Stay back.

QUIMBY

But you just couldn't leave well enough alone. No, you had to dig deeper and deeper into this; you had to learn its history, you had to actively go after it; you've angered it, you've challenged it...Face it, David. You've been digging your own grave since you got here the other day.

DAVID

I'm warning you! Stay back, god damn it!

QUIMBY

And in the end, David...In the end, everything that's happened to you is your own doing. And you know it.

DAVID

Are you still trying to "protect me", Chief?

QUIMBY

There's nothing more I can do for you, David. You can try to run, but Slenderman will find you. Just like he found me after so long. But you won't be as lucky as me; I've been allowed to live, so long as I find it more victims.

DAVID

Do you mean to tell me that all the people who've gone missing -

QUIMBY

Have been because of me. A lot of them, I didn't want to give to him, believe me. If I had my way, I'd have him clear out the prisons and get rid of those scum, but as it stands, I have no choice in the matter. When he finds someone he wants, he takes them. He had another target lined up, David; the young boy at the park. But then you shot it, you angered it. It would have just been a little pissed off, but it would have left you alone - if you hand't chased it. You hunted it down and drew its interest, besides the fact that it had a score to settle with you.

DAVID

Not if I get away in time.

QUIMBY

You don't understand, David. Time's up for you. About the only thing you can do now is call Bill and tell him that the case has gone cold. I'm sure you'll be missed at the Bureau, but remember - you did this to yourself.

David slowly lowers his gun.

QUIMBY

You know I'm right, David. You know that there's nothing more you can do, other than to make your last phone call.

ANOTHER ANGLE.

David takes out his cell phone and dials a number.

INT. - FBI HEADQUARTERS - BILL'S OFFICE. NIGHT.

The phone rings. Bill answers.

BILL

FBI. This is Douriff.

HOTEL ROOM.

DAVID

Bill, it's David.

BILL'S OFFICE.

BILL

David. How's it going up there?

HOTEL ROOM.

DAVID

That's why I'm calling, Bill. I can't find the missing people, and I haven't found any clues as to their whereabouts. As much as I hate to say this, Bill, I'm afraid that this case has gone cold.

BILL'S OFFICE.

BILL

Sorry to hear that, David. Well, if that's the case, then there's no more reason for you to be up there. I'll see you when you get back.

He hangs up.

HOTEL ROOM.

DAVID

(uncertainly)

Yeah. Sure.

He slowly puts his phone back into his pocket.

Back on: Quimby.

He's just smiling at David.

QUIMBY

It's not like you don't have a chance to escape, David, but you will never get away from ol' Slendy. Sooner or later, he'll find you. I suggest you get a head start. Now.

David doesn't say anything; he just turns and runs.

Quick cut to:

EXT. - HOTEL - PARKING LOT. NIGHT.

David hurries over to his car. He spots Slenderman nearby. He takes out his gun and aims it at him.

DAVID

You stay away from me!

He climbs into his car, turns the key in the ignition, and pulls out of the parking lot.

Cut to:

EXT. - ROAD. NIGHT.

David's driving as fast as he can down the road. The road's barely lit with a series of streetlights. With every streetlight David passes, he catches a glimpse of the Slenderman.

ANOTHER ANGLE.

He passes under another streetlight; Slenderman's not under this one.

DAVID

Thank God; he's gone.

Slenderman suddenly appears in front of David's car.

DAVID

OH FUCK!

He swerves to avoid the Slenderman. The car goes off the road and SLAMS into a tree.

ANOTHER ANGLE.

David manages to open the door and slowly crawls out of the car. He finds himself at Quimby's feet. Quimby kneels down next to him.

QUIMBY

I told you, David, you can't get away.

He walks away, leaving David alone with the Slenderman - who's standing over him.

DAVID

Quimby! You know as well as me that one day he's gonna take you. One day, Quimby. One day!

QUIMBY

I know.

He keeps walking.

Back on: David.

He looks up at Slenderman.

DAVID

What are you waiting for? Get it over with.

ANOTHER ANGLE.

Slenderman reaches out for David.

Cut to black.

Cut to:

INT. - FBI HEADQUARTERS - BILL'S OFFICE. NIGHT.

Bill's cell phone rings. He checks the caller ID, then answers.

BILL

Hey, Ozzy.

INT. - POLICE STATION - CHIEF'S OFFICE. NIGHT.

QUIMBY

Bill, I asked you before to not call me that.

BILL'S OFFICE.

BILL

Sorry. Anyway, what's going on?

CHIEF'S OFFICE.

QUIMBY

Bill, I've got some bad news. It's David. He got in way over his head, and he was taken earlier this evening.

BILL'S OFFICE.

BILL

Ooh. Sorry to hear that.

ANOTHER ANGLE.

He brings up a spreadsheet database on his computer; there's a series of names on this database, and next to each name is one of three words: "Suicide", "Institution", and "Taken". Bill finds David's name and types in the word "Taken".

BILL

Hang on.

He spots two names on the database - Bill Douriff and Oswarl Quimby.

BILL

Um, Os? You and me are on this list.

CHIEF'S OFFICE.

QUIMBY

I know, Bill. I know.

He hangs up.

BILL'S OFFICE.

Bill slowly hangs up the phone.

The computer screen starts to flicker and fill with static.

Back on: Bill.

His eyes go wide with fear, before he closes them.

BILL

Oh, god damn it.

WIDEN TO SHOW -

Slenderman's standing right behind him, and we:

Fade out.

Roll credits.

**BUT -**

As the credits draw to a close, the screen is filled with static, and through the static we can see a close up of the Slenderman's nonexistent face.

**THE END**


End file.
